atm711

I haven't seen the Ek version. What happens to Giselle?

She doesn't die--but ends up in a psychiatric ward.....

I have always enjoyed the ending of Mat Ek's 'Giselle'...Albrecht gets his come-uppance at the end and is literally naked and alone.

However, Willam Christensen (SFB) staged the first full-length Coppelia in the United States in 1938.

...and not-to-forget the Ballet Russe with the incomparable pair of Danilova and Franklin many years before Alonso's version.......

Just a note, I am told by the gentleman to whom I referred above that if there is a printed number on the back of the lithograph, it is indeed from the 1948 edition that I spoke of.

I have two prints from that series framed--on the wall above my computer! One is of Cerrito in "Alma - La Fille du Feu" and the other Grisi and Perrot in 'La Esmeralda". They are about 14"X18". I seem to recall that my teacher at the time, George Chaffee had something to do with the reprints.; perhaps your friend knows something about this.

I saw Ananiashvilli's 'Giselle' last night; it has been a few years since I last saw her in the role. At the time I felt she did not give a moving performance; and, alas, my opinion has not changed. I greatly admired her mad scene--one of the best I have seen; quite believable. But--as Swan Lake is Odette, Giselle is Act 2. She and Corella did not match up well--he is too physically slight for her and there was no 'magic'. It is rare to see a ballerina who can excel as both Odette and Giselle; Makarova did. A special nod to Maria Ricccetto who gave a beautiful performance in the peasant pdd; and also to Melissa Thomas as Moyna; when she walked on to the stage she could have been Giselle rising from the grave. One final mention--Karin Ellis-Wentz gave a most moving performance as Berthe in Act 1; in the final moments of the Act she cradled Giselle and gently rolled back and forth with her--something that is instinctive to a mother in such a circumstance, and opened her mouth wide in a silent cry.

A real treasure trove. I particularly liked the photos of 'Aurora's Wedding' where she is wearing the well-known blue and white tutu of the 1930's. There are any number of photos of ballerinas of that era in the same tutu.

When I turn on my computer the photo that greets me is one of Riabouchinska, Toumanova and Baronova in their Sylphides tutus taken in a bare studio and now they are all gone. I managed to see Riabouchinska and Toumanova on the Stage when they were guests with Ballet Theatre in the mid 40's; but by that time Baronova had already retired and I did not see her with a ballet company. However, I was determined to see her on the stage and saw her in a musical comedy on Broadway called 'Follow The Girls' (Jackie Gleason had his first starring role) and the best part of it was that she wore the traditional classical tutu when she performed. During this time word circulated around the dance studios in NYC that she was taking class at Vilzak-Shollar and off we went! It was said that she looked marvelous and had "slimmed down to 126 lbs"; imagine saying that about a dancer today---they probably average 20 lbs. less. When I saw her in the Ballet Russe documentary I came away feeling---'that is someone I wish I had as a friend'. Rest in peace, Irina.

True---Part did flub her left pirouettes during the scarf dance---but enough of this slight imperfection! Her glorious Grand Jetes in Act 3 make that controversal Act worth staging. Her emotion and expressiveness are believable; she is not one to overdo. Makarova has always been my favorite Nikiya and I thought Part to be her equal---but now I believe Part has no equal as Nikiya; she stands alone.

There are wonderful photos of Marie-Jeanne in a version of this costume in hte latest issue of Ballet Review, which came today -- main difference is that hte whole basque is beige, except for half the ruffle at the collar-bone, and the skirt's very short. She looks great in it.

ATM711, did you see Marie-Jeanne in this ballet? If so, I'd really envy you. I'd love to know what she was like.

She's quoted as saying it was not so "Fokine-y" in her day, but very sharp. Do you remember it that way?

I got my copy of Ballet Review but haven't read it yet; looks like a great issue. The costume she is wearing in Serenade is not the same one worn by the Denham BR in the mid to late 40's, which is when I saw it. I don't know if she danced Serenade with Denham; I did not see her in it. I wonder if her 'Fokine-y' remark is about the current productions?; if so, I agree completely. The ballet she was really marvelous in was 'Concerto Barocco'---that's where the sharpness is missing today---and those white costumes used today help to deplete the sharpness; it sometimes looks like 'Chaconne'.....But--the Denham BR had a great contingent of dancers performing the role---in addition to Marie-Jeanne there was Ruthanna Boris, Mary Ellen Moylan and Patricia Wilde---all very good. By today's standards they would all be called 'petite'---- loved the look of the more compact dancer (in black leotard) to today's long-legged ones.

There is a photo in the current Ballet Review article that left me smiling...it is the GPLynes photo of Marie-Jeanne and Magallanes (she with the flowing hair) stark naked---it is a photo I was familiar with and saw many times reproduced---but only in black silhouette---how discreet we were then

looks like a hat to me....

It IS arresting to think that Serenade was ever danced in such costumes. She looks such a teen-ager.

It was in that costume that I first saw 'Serenade' with the Denham Ballet Russe. The colors were shades of brown and beige, and the ladies wore head bands, which you can see on Roudenko's head (who,by the way, did a marvelous can-can in Gaite Parisienne). I was very drawn to the ballet in those days, especially the effervescent performance of Ruthanna Boris as the Waltz girl. In those days it didn't have that "ballet-is-woman-aspect"; I still cringe a bit with all the flying hair, although I have gotten used to the filmy Sylphide look.

...and a true Danseur Noble is there ever was one. He had a wonderful little habit (or maybe it was a tic) during his variations...as he came downstage in preparation for his entrechats and Tours he would tilt his head to one side (as though he was listening to a far off voice). It was a charming touch especially in his Siegfried variation and in Theme & Variations. I was delighted to see this same movement recently during Hallberg's recent performance with Part in Swan Lake; again during Siegfried's variation. History repeats itself in a most delightful way.

The dancer in the awkward position on the left doesn't look much like Krassovska.

I can't believe my good luck in finding this DVD today. I have a brief clip of Semenyaka in Giselle on a documentary and have always wished for more. I found it at CD Universe (couldn't find it at Amazon). Their price is usually a couple of dollars less than Amazon (although shipping is not free). They are selling it for $29.99. The List price is $44.00. I am looking forward to my two Giselles: Pujol and Semenyaka.

I saw the ballet during its early days and it had the 'edge' Papeete mentions. Both Alicia Alonso and Nora Kaye danced the role of Lizzie and each had a unique interpretation. Alonso had a softer 'edge' and came away as a sympathetic figure; with Nora Kaye it was easy to believe she committed the dastardly act. Both were r iveting performances. The Dance Theatre of Harlem DVD doesn't come close, but I suppose it is valuable because it gives a sense of the ballet.

She came across as quite modest and unpretentious; it is quite hard to believe how that power-house of a ballet "Frankie and Johnny" came out of that demure woman.

At yesterdays performance of ABT's Don Quixote (Reyes/Cornejo/Boone/Radetsky) it was a Corps dancer Melissa Thomas who opened my eyes wide with her dancing of the Queen of the Dryads in the 2nd Act. The beauty of her line and the crystal quality of her technique notwithstanding, it was her expressiveness that raised her performance to such an enjoyable height. She easily managed to steal the scene from the Ballerina; I went to the performance to see Cornejo but came away with a new discovery.

He is heartbreakingly beautiful...

As Odette she didn't do the lightning fast beats sur le coup de pied nor did she do the mesmerizing undulating swan arms as she bourees off the stage. What's up? These are two things I've come to expect and look forward to seeing. I was rather surprised that Part omits them. Can anyone shed light for me?

Actually, she did do the 'coup de pied' beats; but while Hallberg was turning her they showed to the rear of the stage!--granted, they were not the most delicate I have seen---that honor belongs to only one ballerina---Alicia Markova.--as to the undulating arms---- they were there---beautiful, but not as over-the-top as Ananiashvilli.

All in all, I am with drb---she should have been named Ballerina....

I had to laugh in Act I while watching Mr. Franklin, the tutor, watching every step of Hallberg's. Yes, Freddie, some day he will be as great as you were. Hallberg was pretty grand last night - so young and yet such a firm grasp on the heart of the matter.

Hallberg certainly surpasses 'Freddie' with his beautiful classical line--and feet! If, as you say, that he has a 'firm grasp on the heart of the matter' that is an area where Franklin excelled and I would hope that he is mentoring the young man.

I have fond memories of Nora Kaye in this role. The first time I saw her in this role was during BT's '44-'45 season which also featured the guest appearances of Toumanova. We balletomanes, at the time, felt that she was mimicking Toumanova's excesses, which made the performance even more delicious.

I recall reading somewhere that her first husband was James T. Farrell ( of Studs Lonigan fame). She was in her teens at the time, and it was short lived.

Oh, what a delightful clip. I had a friend at the time who was so besotted with Bolger that she went almost every week to see 'Where's Charley' during its long run.

I also think Bolger inspired Balanchine. When I saw the Kirov last April in 'Rubies' I said the following:

"The men had a problem with the running/jogging step that Balanchine used throughout the ballet; they looked comical in a clumsy way--THINK Ray Bolger when doing this..."

I saw Bolger in "Where's Charley" and 'once-in-love-with-Amy' was a highpoint in theater musicals.

... what I find missing is the grandeur that Alonso brought to the role

"Please, tell Alicia that many years have passed but so far nobody has ever danced "Theme and Variations" the way she did"

George Balanchine

I felt that way for many years; it was a different ballet with those who performed it after her. Balanchine might not have seen Asylmuratova..... I saw her during a Kirov visit to NYC; not sure when, but it was after Balanchine was no longer here. Asylmuratova evoked my memories of Alonso; especially the way they looked when promenaded 'en attitude' by their respective partners.

I have a copy of the Kirkland/Baryshnikov 'Theme' which I dearly cherish and watch often. Kirkland surely has the 'whiz-bang' technique for the role which I find admirable. But what I find missing is the grandeur that Alonso brought to the role; and many years later I was to see Asylmuratova who also had this quality.

did Igor Youskevitch or Alicia Alonso work their way up through the corps at ABT?

Igor Youskevitch was a premier danseur with the Ballet Russe de Monte Carlo from 1938 to 1944. He joined Ballet Theatre in 1946, and not in the Corps . Alicia Alonso was a soloist with Ballet Caravan from 1939-l940, soloist with Ballet Theatre in 1941; ballerina since 1943.